Art Supplies Quotes

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The Genius Of The Crowd there is enough treachery, hatred violence absurdity in the average human being to supply any given army on any given day and the best at murder are those who preach against it and the best at hate are those who preach love and the best at war finally are those who preach peace those who preach god, need god those who preach peace do not have peace those who preach peace do not have love beware the preachers beware the knowers beware those who are always reading books beware those who either detest poverty or are proud of it beware those quick to praise for they need praise in return beware those who are quick to censor they are afraid of what they do not know beware those who seek constant crowds for they are nothing alone beware the average man the average woman beware their love, their love is average seeks average but there is genius in their hatred there is enough genius in their hatred to kill you to kill anybody not wanting solitude not understanding solitude they will attempt to destroy anything that differs from their own not being able to create art they will not understand art they will consider their failure as creators only as a failure of the world not being able to love fully they will believe your love incomplete and then they will hate you and their hatred will be perfect like a shining diamond like a knife like a mountain like a tiger like hemlock their finest art
Charles Bukowski
Tell me something boss. What do you think is the highest form of art? 'Literature," he answered without hesitation. 'Painters and sculptors require elaborate supplies and tools. Dancers must have music. Musicians must have instruments. Literature needs nothing but a voice to speak it or sand to scrawl it in.
Tiffany Reisz (The Siren (The Original Sinners, #1))
Glitter is the herpes of craft supplies.
Demetri Martin
Art is merely the refuge which the ingenious have invented, when they were supplied with food and women, to escape the tediousness of life.
W. Somerset Maugham (Of Human Bondage by Somerset Maugham)
A Gift for You I send you... A cottage retreat on a hill in Ireland. This cottage is filled with fresh flowers, art supplies, and a double-wide chaise lounge in front of a wood-burning fireplace. There is a cabinet near the front door, where your favorite meals appear, several times a day. Desserts are plentiful and calorie free. The closet is stocked with colorful robes and pajamas, and a painting in the bedroom slides aside to reveal a plasma television screen with every movie you've ever wanted to watch. A wooden mailbox at the end of the lane is filled daily with beguiling invitations to tea parties, horse-and-carriage rides, theatrical performances, and violin concerts. There is no obligation or need to respond. You sleep deeply and peacefully each night, and feel profoundly healthy. This cottage is yours to return to at any time.
S.A.R.K. (Make Your Creative Dreams Real: A Plan for Procrastinators, Perfectionists, Busy People, and People Who Would Really Rather Sleep All Day)
[Wise men] have tried to understand our state of being, by grasping at its stars, or its arts, or its economics. But, if there is an underlying oneness of all things, it does not matter where we begin, whether with stars, or laws of supply and demand, or frogs, or Napoleon Bonaparte. One measures a circle, beginning anywhere.
Charles Fort (Lo! (Cosimo Classics))
The only way to teach focus is to present the eye with opportunities for steady perception—best supplied by the contemplation of art. Looking at art requires stillness and receptivity, which realign our senses and produce a magical tranquillity.
Camille Paglia (Glittering Images: A Journey Through Art from Egypt to Star Wars)
An artist that makes art merely to meet a demand is a slave to what his patrons wants to see, or, hear.
Mokokoma Mokhonoana
Medicine rests upon four pillars—philosophy, astronomy, alchemy, and ethics. The first pillar is the philosophical knowledge of earth and water; the second, astronomy, supplies its full understanding of that which is of fiery and airy nature; the third is an adequate explanation of the properties of all the four elements—that is to say, of the whole cosmos—and an introduction into the art of their transformations; and finally, the fourth shows the physician those virtues which must stay with him up until his death, and it should support and complete the three other pillars.
Paracelsus (Paracelsus: Selected Writings)
By method and discipline are to be understood the marshaling of the army in its proper subdivisions, the graduations of rank among the officers, the maintenance of roads by which supplies may reach the army, and the control of military expenditure.
Sun Tzu (The Art of War: (Miniature book))
I love crafting. Knitting, decoupage, scrapbooking, any "lady-ish" art form, I'm a fan. For about six months each. Then I shove all the supplies in a closet, alongside the skeletons of long dead New Year's resolutions, like saber fencing, playing the ukulele, and Japanese brush painting.
Felicia Day (You're Never Weird on the Internet (Almost))
An angry artist tells people what (he thinks) they need to hear. A hungry artist tells people what (he thinks) they want to hear.
Mokokoma Mokhonoana
You know you're down and out when Okies laugh at you,' she said. With our garbage bag taped window, our tied down hood, and art supplies strapped to the roof, we'd out-Okied the Okies.
Jeannette Walls (The Glass Castle)
[Once war is declared, he will not waste precious time in waiting for reinforcements, nor will he return his army back for fresh supplies, but crosses the enemy's frontier without delay.
Sun Tzu (The Art of War)
...literature gives you ideas to think with. It stocks your mind. It does not indoctrinate, because diversity, counter-argument, reappraisal and qualification are its essence. But it supplies the materials for thought. Also, because it is the only art capable of criticism, it encourages questioning, and self-questioning.
John Carey (What Good Are the Arts?)
It is true that wealth buys power and influence, but it does not buy morality, or kindness, or compassion. The pursuit of wealth can blind us to the fact that all of us, rich or poor, can be generous with our time, love, kindness, and compassion. Those virtues, and many more, we can all have in unlimited supply.
Joseph M. Marshall III (Keep Going: The Art of Perseverance)
I would prefer to have one comfortable room well stocked with books to all you could give me in the way of decoration which the highest art could supply.
John Bright
8.    The skillful soldier does not raise a second levy, neither are his supply-wagons loaded more than twice. [Once war is declared, he will
Sun Tzu (The Art of War)
we often forget not because it’s efficient for our brains to do so but because we haven’t supplied our brains with the kinds of input needed to support memory creation and retrieval.
Lisa Genova (Remember: The Science of Memory and the Art of Forgetting)
Discernment,” C.H. Spurgeon once famously quipped, “is knowing the difference between right and almost right.” Tweaking that ever so slightly, discernment is knowing the difference between what is good and what is better. And sometimes, seeking what is better means learning to trust God while you wait for Him to supply it.
Hannah Anderson (All That's Good: Recovering the Lost Art of Discernment)
the moment that an artist takes notice of what other people want, and tries to supply the demand, he ceases to be an artist, and becomes a dull or an amusing craftsman, an honest or a dishonest tradesman. He has no further claim to be considered as an artist.
Oscar Wilde (The Soul of Man Under Socialism)
And so we know the satisfaction of hate. We know the sweet joy of revenge. How it feels good to get even. Oh, that was a nice idea Jesus had. That was a pretty notion, but you can't love people who do evil. It's neither sensible or practical. It's not wise to the world to love people who do such terrible wrong. There is no way on earth we can love our enemies. They'll only do wickedness and hatefulness again. And worse, they'll think they can get away with this wickedness and evil, because they'll think we're weak and afraid. What would the world come to? But I want to say to you here on this hot July morning in Holt, what if Jesus wasn't kidding? What if he wasn't talking about some never-never land? What if he really did mean what he said two thousand years ago? What if he was thoroughly wise to the world and knew firsthand cruelty and wickedness and evil and hate? Knew it all so well from personal firsthand experience? And what if in spite of all that he knew, he still said love your enemies? Turn your cheek. Pray for those who misuse you. What if he meant every word of what he said? What then would the world come to? And what if we tried it? What if we said to our enemies: We are the most powerful nation on earth. We can destroy you. We can kill your children. We can make ruins of your cities and villages and when we're finished you won't even know how to look for the places where they used to be. We have the power to take away your water and to scorch your earth, to rob you of the very fundamentals of life. We can change the actual day into actual night. We can do these things to you. And more. But what if we say, Listen: Instead of any of these, we are going to give willingly and generously to you. We are going to spend the great American national treasure and the will and the human lives that we would have spent on destruction, and instead we are going to turn them all toward creation. We'll mend your roads and highways, expand your schools, modernize your wells and water supplies, save your ancient artifacts and art and culture, preserve your temples and mosques. In fact, we are going to love you. And again we say, no matter what has gone before, no matter what you've done: We are going to love you. We have set our hearts to it. We will treat you like brothers and sisters. We are going to turn our collective national cheek and present it to be stricken a second time, if need be, and offer it to you. Listen, we-- But then he was abruptly halted.
Kent Haruf (Benediction (Plainsong, #3))
Guys don't understand great art. They don't care that sometimes the camera has power beyond the photographer to record emotion that only the heart can see. They're threatened when the camera jumps ahead of me. Todd Kovich was pissed when I brought my Nikon to the prom, but I'd missed too many transcendent shots over the years to ever take a chance of missing one again. A prom, I told him, had a boundless supply of photogenic bozos who could be counted on to do something base.
Joan Bauer (Thwonk)
but he was totally uninterested in poetry and not particularly sensitive to literature or any of the arts, and therefore not at all an easy person to supply with reading matter.
Andrew Hodges (Alan Turing: The Enigma: The Book That Inspired the Film The Imitation Game)
Reyna managed a smile. She was starting to appreciate the differences between satyrs and fauns. If she ever fell asleep with a faun on duty, she'd wake up with her supplies stolen, a moustache drawn on her face and the faun long gone. Coach Hedge was different – mostly good different, though he did have an unhealthy obsession with martial arts and baseball bats.
Rick Riordan (The Blood of Olympus (The Heroes of Olympus, #5))
So I’m not using anything but two-ply from now on,” Hi was saying. “Otherwise, the stuff just shreds—” Noting Shelton’s expression, he abruptly cut off. Turned. Went beet red. “Hey.” Sitting down as if nothing was unusual. “You know Ella. Okay if she joins us?” “Okay if she joins us?” Shelton repeated. “I mean, yes. Join us. Okay.” “I was talking about art supplies,” Hi blurted. “I’m into papier-mâché.
Kathy Reichs (Exposure (Virals, #4))
Say it with me: I am an artist. I don’t need art supplies, lots of cash, a mind other than the one I currently have, skills other than those I already possess, or a network of influential contacts. I can experience the world thoughtfully and make things to put into it. I am an artist.
Sarah Urist Green (You Are an Artist: Assignments to Spark Creation)
There, then, is the role of the amateur: to look the world back to grace. There, too, is the necessity of his work: His tribe must be in short supply; his job has gone begging. The world looks as if it has been left in the custody of a pack of trolls. Indeed, the whole distinction between art and trash, between food and garbage, depends on the presence or absence of the loving eye. Turn a statue over to a boor, and his boredom will break it to bits - witness the ruined monuments of antiquity. On the other hand, turn a shack over to a lover; for all its poverty, its lights and shadows warm a little and its numbed surfaces prickle with feeling.
Robert Farrar Capon (The Supper of the Lamb: A Culinary Reflection (Modern Library Food))
Culture jamming is enjoying a resurgence, in part because of technological advancements but also more pertinently, because of the good old rules of supply and demand. Something not far from the surfaces of the public psyche is delighted to see the icons of corporate power subverted and mocked. There is, in short, a market for it. With commercialism able to overpower the traditional authority of religion, politics and schools, corporations have emerged a the natural targets for all sorts of free-floating rage and rebellion. The new ethos that culture jamming taps into is go-for-the-corporate-jugular.
Naomi Klein (No Logo)
Father had stretched out his long legs and was tilting back in his chair. Mother sat with her knees crossed, in blue slacks, smoking a Chesterfield. The dessert dishes were still on the table. My sisters were nowhere in evidence. It was a warm evening; the big dining-room windows gave onto blooming rhododendrons. Mother regarded me warmly. She gave me to understand that she was glad I had found what I had been looking for, but that she and father were happy to sit with their coffee, and would not be coming down. She did not say, but I understood at once, that they had their pursuits (coffee?) and I had mine. She did not say, but I began to understand then, that you do what you do out of your private passion for the thing itself. I had essentially been handed my own life. In subsequent years my parents would praise my drawings and poems, and supply me with books, art supplies, and sports equipment, and listen to my troubles and enthusiasms, and supervise my hours, and discuss and inform, but they would not get involved with my detective work, nor hear about my reading, nor inquire about my homework or term papers or exams, nor visit the salamanders I caught, nor listen to me play the piano, nor attend my field hockey games, nor fuss over my insect collection with me, or my poetry collection or stamp collection or rock collection. My days and nights were my own to plan and fill.
Annie Dillard (An American Childhood)
Art is a vital part of life. For as long as artists create vulgar content, and for as long there continues to be a market for it, we are a long way from reducing teenage pregnancies. However, we can apply the law of supply and demand; hoard the goods.
Don Santo
Home is the first point of investment. The first and most important thing to invest in is your home. Make sure your house is in good condition physically and energetically, make sure you’re paid up on the household bills, make sure you’re stocked up on supplies and food, make sure your home is furnished to your style and comfort, make sure you’ve got nice plants to clean the air, nice art, nice crystals and essential oils, nice things that promote your wellbeing…. Make sure your garden is growing nutritious plants. Invest in your household and your family because they have the greatest Return on Investment. And your investment in your home will be a magnet for many other different kinds of investments.
Hendrith Vanlon Smith Jr. (The Wealth Reference Guide: An American Classic)
Hanna loved how the pencils and crayons looked, with their pointy unused tips. She liked the quarter-size circles of watercolor paint, like frozen puddles from a dripping rainbow.
Zoje Stage (Baby Teeth)
The most important imperative to be questioned is the one that tells you to go the the art supply store to be a painter.
Mark Bradford
He bought acetone from an art supply store, bleaching powder from a janitorial supply, and brewed the chloroform himself from acetone by the reaction of chloride of lime
Dean Koontz (The Other Emily)
Imagination is not, as some poets have thought, simply synonymous with good. It may be either good or evil. As long as art remained primarily mimetic, the evil which imagination could do was limited by nature. Again, as long as it was treated as an amusement, the evil which it could do was limited in scope. But in an age when the connection between imagination and figuration is beginning to be dimly realized, when the fact of the directionally creator relation is beginning to break through into consciousness, both the good and the evil latent in the working of imagination begin to appear unlimited. We have seen in the Romantic movement an instance of the way in which the making of images may react upon the collective representations. It is a fairly rudimentary instance, but even so it has already gone beyond the dreams and responses of a leisured few. The economic and social structure of Switzerland is noticeably affected by its tourist industry, and that is due only in part to increased facilities of travel. It is due not less to the condition that (whatever may be said about their ‘particles’) the mountains which twentieth-century man sees are not the mountains which eighteenth-century man saw. It may be objected that this is a very small matter, and that it will be a long time before the imagination of man substantially alters those appearances of nature with which his figuration supplies him. But then I am taking the long view. Even so, we need not be too confident. Even if the pace of change remained the same, one who is really sensitive to (for example) the difference between the medieval collective representations and our own will be aware that, without traveling any greater distance than we have come since the fourteenth century, we could very well move forward into a chaotically empty or fantastically hideous world. But the pace of change has not remained the same. It has accelerated and is accelerating. We should remember this, when appraising the aberrations of the formally representational arts. Of course, in so far as these are due to affectation, they are of no importance. But in so far as they are genuine, they are genuine because the artist has in some way or other experienced the world he represents. And in so far as they are appreciated, they are appreciated by those who are themselves willing to make a move towards seeing the world in that way, and, ultimately therefore, seeing that kind of world. We should remember this, when we see pictures of a dog with six legs emerging from a vegetable marrow or a woman with a motorbicycle substituted for her left breast.
Owen Barfield
O, the breadth of the love of Christ! Shall such a love as this have half our hearts? Shall it have a cold love in return? Shall Jesus' marvellous lovingkindness and tender care meet with but faint response and tardy acknowledgment? O my soul, tune thy harp to a glad song of thanksgiving! Go to thy rest rejoicing, for thou art no desolate wanderer, but a beloved child, watched over, cared for, supplied, and defended by thy Lord.
Charles Haddon Spurgeon (Morning and Evening)
Cora snorts. "Whatever, dude, the whole point is that you don't have to make an effort here. You think any of us work here because we've got a real passion for art supplies?" Kristy practically jumps over the counter. For such a happy little pixie, she's ready to sacrifice herself in a heartbeat if the cause is worthy. She's Joan of Arc with a really bouncy ponytail. "I like--" "Kristy has a passion for the lint you scrape off the laundry screen." Cora cuts in. "Kristy doesn't count." "I was just joking about that," Kristy says, after a few seconds of stricken silence. "It's nice that its fluffy. It's my second favourite part about doing laundry.
Hannah Johnson (Know Not Why (Know Not Why, #1))
I hate you," Watson said to me, empathetically. "What is it with you and closets?" "They're often quite clean. And if they aren't one can usually find cleaning supplies in them." "Holmes-" "Actually, I booked us a room in an Art Deco hotel," I said, and moments later our car pulled into its circle drive. I'd always prided myself on my timing.
Brittany Cavallaro (The Last of August (Charlotte Holmes, #2))
Magical activity is a kind of dynamo supplying the mechanisms of practical life with the emotional current that drives it. Hence, magic is a necessity of every sort and condition of man, and is actually found in every healthy society.
Herbert Read
The skin is an integral part of the body and depends upon the general system for its supply of food and to carry away its waste. Skin health depends primarily upon the general health of the body. All attempts to deal with the skin as an independent entity, without due regard to its reliance upon the general system, must of necessity result in failure. The skin is nourished by the blood and there is no other source from which it can draw sustenance. "Skin foods" are all frauds. These are composed chiefly of grease. No fat can be assimilated by the skin or other tissues of the body until it has first been broken down into its constituent fatty acids in the process of digestion. Even were this not true, the skin contains very little fat and these "skin foods" would still not constitute proper nourishment for it. Blood is the only skin food.
Herbert M. Shelton (The Science and Fine Art of Natural Hygiene (The Hygienic System))
I’m convinced that parents are the most essential key to unlocking the next generation’s curiosity, creativity, and innovation. So much can be said for providing a home full of books, art supplies, open-ended toys, and freedom to wander outdoors. Being stingy with screen time and generous with our attention to a child’s natural interests can translate the message to him or her that learning matters better than any standardized test. And for parents like myself, this may require questioning the same method by which they were educated. Not only has our modern method of education continually declined in its success since we ourselves went through the system; it has left us wanting more—more education for ourselves, and definitely more for our kids.
Tsh Oxenreider (Notes from a Blue Bike: The Art of Living Intentionally in a Chaotic World)
By METHOD AND DISCIPLINE are to be understood the marshaling of the army in its proper subdivisions, the graduations of rank among the officers, the maintenance of roads by which supplies may reach the army, and the control of military expenditure. 11.  These five heads should be familiar to every general: he who knows them will be victorious; he who knows them not will fail.
Sun Tzu (The Art of War)
Benedikt wanted to break something. He hadn't touched his art supplies in months, but recently he had been entertaining the urge to destroy it all. Stab his paintbrush right through his canvas and hope that the damage would be enough to make him feel better.
Chloe Gong (Our Violent Ends (These Violent Delights, #2))
Fiat ars – pereat mundus”, says Fascism, and, as Marinetti admits, expects war to supply the artistic gratification of a sense perception that has been changed by technology. This is evidently the consummation of “l’art pour l’art.” Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. This is the situation of politics which Fascism is rendering aesthetic. Communism responds by politicizing art.
Walter Benjamin (The Work of Art in the Age of Mechanical Reproduction)
We were in the main dining-room, and there was a fine-dressed crowd there, all talking loud and enjoyable about the two St. Louis topics, the water supply and the colour line. They mix the two subjects so fast that strangers often think they are discussing water-colours; and that has given the old town something of a rep as an art centre.
O. Henry (O. Henry: Collected Works (+200 Stories))
As we make our journey, many of us succumb to measuring ourselves and others, by how much worldly goods we have acquired, or can acquire. The false lesson is that he or she who has the most is the best. “It is true that wealth buys power and influence, but it does not buy morality, or kindness, or compassion. The pursuit of wealth can blind us to the fact that all of us, rich or poor, can be generous with our time, love, kindness, and compassion. Those virtues, and many more, we can all have in unlimited supply.
Joseph M. Marshall III (Keep Going: The Art of Perseverance)
The learning principle is to plunge into the detailed mystery of the micro in order to understand what makes the macro tick. Our obstacle is that we live in an attention-deficit culture. We are bombarded with more and more information on television, radio, cell phones, video games, the Internet. The constant supply of stimulus has the potential to turn us into addicts, always hungering for something new and prefabricated to keep us entertained. When nothing exciting is going on, we might get bored, distracted, separated from the moment. So we look for new entertainment, surf channels, flip through magazines. If caught in these rhythms, we are like tiny current-bound surface fish, floating along a two-dimensional world without any sense for the gorgeous abyss below. When these societally induced tendencies translate into the learning process, they have devastating effect.
Josh Waitzkin (The Art of Learning: An Inner Journey to Optimal Performance)
The Genius Of The Crowd there is enough treachery, hatred violence absurdity in the average human being to supply any given army on any given day and the best at murder are those who preach against it and the best at hate are those who preach love and the best at war finally are those who preach peace those who preach god, need god those who preach peace do not have peace those who preach peace do not have love beware the preachers beware the knowers beware those who are always reading books beware those who either detest poverty or are proud of it beware those quick to praise for they need praise in return beware those who are quick to censor they are afraid of what they do not know beware those who seek constant crowds for they are nothing alone beware the average man the average woman beware their love, their love is average seeks average but there is genius in their hatred there is enough genius in their hatred to kill you to kill anybody not wanting solitude not understanding solitude they will attempt to destroy anything that differs from their own not being able to create art they will not understand art they will consider their failure as creators only as a failure of the world not being able to love fully they will believe your love incomplete and then they will hate you and their hatred will be perfect like a shining diamond like a knife like a mountain like a tiger like hemlock their finest art
Charles Bukowski (The Roominghouse Madrigals: Early Selected Poems, 1946-1966)
Is that...the Looney Tunes theme?" Mer and St. Clair cock their ears. "Why,yes.I believe it is," St. Clair says. "I heard 'Love Shack' a few minutes ago," Mer says. "It's official," I say. "America has finally ruined France." "So can we go now?" St. Clair holds up a small bag. "I'm done." "Ooo,what'd you get?" Mer asks. She takes his bag and pulls out a delicate, shimmery scarf. "Is it for Ellie?" "Shite." Mer pauses. "You didn't get anything for Ellie?" "No,it's for Mum.Arrrgh." He rakes a hand through his hair. "Would you mind if we pop over to Sennelier before we go home?" Sennelier is a gorgeous little art supply sore,the kind that makes me wish I had an excuse to buy oil paints and pastels. Mer and I went with Rashmi last weekend. She bought Josh a new sketchbook for Hanukkah. "Wow.Congratulations,St. Clair," I say. "Winner of today's Sucky Boyfriend award.And I thought Steve was bad-did you see what happened in calc?" "You mean when Amanda caught him dirty-texting Nicole?" Mer asks. "I thought she was gonna stab him in the neck with her pencil." "I've been busy," St. Clair says. I glance at him. "I was just teasing." "Well,you don't have to be such a bloody git about it." "I wasn't being a git. I wasnt even being a twat, or a wanker, or any of your other bleeding Briticisms-" "Piss off." He snatches his bag back from Mer and scowls at me. "HEY!" Mer says. "It's Christmas. Ho-ho-ho. Deck the halls. Stop fighting." "We weren't fighting," he and I say together. She shakes her head. "Come on,St. Clair's right. Let's get out of here. This place gives me the creeps." "I think it's pretty," I say. "Besides, I'd rather look at ribbons than dead rabbits." "Not the hares again," St. Clair says. "You're as bad as Rashmi." We wrestle through the Christmas crowds. "I can see why she was upset! The way they're hung up,like they'd died of nosebleeds. It's horrible. Poor Isis." All of the shops in Paris have outdone themselves with elaborate window displays,and the butcher is no exception. I pass the dead bunnies every time I go to the movies. "In case you hadn't noticed," he says. "Isis is perfectly alive and well on the sixth floor.
Stephanie Perkins (Anna and the French Kiss (Anna and the French Kiss, #1))
For even peace itself will supply more reason for worry. Not even safe circumstances will bring you confidence once your mind has been shocked—once it gets in the habit of blind panic, it can’t provide for its own safety.
Ryan Holiday (The Daily Stoic: 366 Meditations on Wisdom, Perseverance, and the Art of Living)
It follows from Schopenhauer’s analysis that evert genuine work of art must have its origin in direct perception; that is to say it does not originate in concepts, and concepts are not what it communicates. This is what more than anything else differentiates good art from bad, or more accurately authentic from inauthentic art. The latter often originates in a desire on the part of the artist to meet some demand external to himself – to win approval, say, or be in the fashion, or supply a market – or else to put over a message of some sort. Such an artist starts by trying to thin what it would be a good idea to do – in other words, the starting point of the process for him is something that exists in terms of concepts. The inevitable result is dead art, of whatever kind, whether imitative, academic, commercial, didactic or fashion-conscious. It may be successful in its day because it meets the demands of its day, but once that day is over it has no inner life of its own with which to outlive it.
Bryan Magee (The Philosophy of Schopenhauer)
With mindful awareness, we can look into the nature of our suffering and find out what kind of food we have been supplying to keep it alive. When we find the source of nourishment for our suffering, we can cut off that supply, and our suffering will fade.
Thich Nhat Hanh (The Art of Communicating)
Yes, to a certain extent, it is. Original thought in art is important. There’s no intellectual value in plagiarism. But there is in authenticity. Modern art is about innovation and imagination, not the status quo, or worse: pale imitation. And then there’s the financial value we place on rarity in our capitalist society, where the laws of supply and demand rule. Put all three together—originality, authenticity, rarity—and you have the reason why a Malevich Black Square is worth a million dollars and a version by you or me is not.
Will Gompertz (What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art)
I can no longer hide the truth: I have AADD, or Artist Attention Diversion Disorder. You won’t find this disorder in a psychiatry reference guide, but it exists. AADD is the curse of anyone whose mantra is, “So many supplies, so little time . . . oh look, there’s something new I have to try!
Pam Carriker (Art at the Speed of Life: motivation + inspiration for making mixed-media art every day)
The vast body of literature, in every domain, is composed of hand-me-down ideas. The question — never resolved, alas! — is to what extent it would be efficacious to curtail the overwhelming supply of cheap fodder. One thing is certain today — the illiterate are definitely not the least intelligent among us. If it be knowledge or wisdom one is seeking, then one had better go direct to the source. And the source is not the scholar or philosopher, not the master, saint, or teacher, but life itself — direct experience of life. The same is true for art. Here, too, we can dispense with ‘the masters.
Henry Miller (The Books in My Life)
Happiness isn’t some thing in the material world that can be acquired and stored and used when needed or wanted. If it were, I’d give you a lifetime supply that would guarantee a happy life. No—happiness is an attitude that comes from within you. It’s accessible when you place in your imagination an I am statement that reflects your attunement with the simple truth that happiness is indeed an inside job. Happiness is an inner belief that you bring to everyone and everything you undertake, rather than expecting your happiness to come to you from others or from your accomplishments and acquisitions. There is no way to happiness, happiness is the way.
Wayne W. Dyer (Wishes Fulfilled: Mastering the Art of Manifesting)
The MORAL LAW causes the people to be in complete accord with their ruler, so that they will follow him regardless of their lives, undismayed by any danger. 7. HEAVEN signifies night and day, cold and heat, times and seasons. 8. EARTH comprises distances, great and small; danger and security; open ground and narrow passes; the chances of life and death. 9. The COMMANDER stands for the virtues of wisdom, sincerely, benevolence, courage and strictness. 10. By METHOD AND DISCIPLINE are to be understood the marshaling of the army in its proper subdivisions, the graduations of rank among the officers, the maintenance of roads by which supplies may reach the army, and the control of military expenditure.
Sun Tzu (The Art of War)
Small-business leaders need all the friends we can get. It’s much better business to develop loyal associates and friends, and even develop exclusive relationships, when possible, so the best performers won’t provide services or supplies to your competitors. Make enemies of them, and they’ll want to help your competitors. They’ll even be driven to do so.
Becky Sheetz-Runkle (The Art of War for Small Business: Defeat the Competition and Dominate the Market with the Masterful Strategies of Sun Tzu)
Robinson had long mastered the art of coming instantly awake, a skill which had proved invaluable when his children were young. He could be out of his bed, supplying nutriment, water, or a story, before his wife turned over in her sleep. He attributed his long and happy marriage to the fact that unlike most mothers, his wife got to sleep through the night when he was at home.
Kerry Greenwood (Murder in Montparnasse (Phryne Fisher, #12))
A gaggle of sophomore girls wavered by in their heels, en route from Bartleby's to some house party. No two of their tube tops or flouncy miniskirts were precisely alike, in cut or in color, and these slight variations made the outfits look all the more carefully orchestrated as they linked arms and passed by, pretending not to listen. Schwartz tried to comfort himself with a long look at their ten slender thighs turned pink by the cold, the good odds he'd been between four or six of those thighs on oblivious drunken nights, but it was useless, the girls looked absurd to him now, and it no longer seemed that the universe contained an endless supply of anonymous pink thighs to which he could escape from his troubles. Pella would never dress like that.
Chad Harbach (The Art of Fielding)
Jefferson grasped the import of the moment, issuing a proclamation banning armed British ships from U.S. waters.9 At a cabinet meeting he decided to call on the governors of the states to have their quotas of one hundred thousand militiamen ready, and he ordered the purchase of arms, ammunition, and supplies.10,11 The president gave the order unilaterally, without congressional approval. He
Jon Meacham (Thomas Jefferson: The Art of Power)
So let’s consider an alternative diet, say 1200 kcal consisting of 30% protein, 15% carbs (i.e., 180 kcal or 45 grams), and 55% fat. After a week or two of getting adapted (during which you may experience some of the fuel limitation symptoms discussed above), your serum ketones rise up in the range (1-2 millimolar) where they meet at least half of the brain’s fuel supply. Now if you go for that 5 mile run, almost all of your body’s muscle fuel comes from fat, leaving your dietary carb intake plus gluconeogenesis from protein to meet the minor fraction of your brain’s energy need not provided from ketones. And, oh yes, after your run while on the low carb diet, your ketone levels actually go up a bit (not dangerously so), further improving fuel flow to your brain. So what does this mean for the rest of us who are not compulsive runners? Well, this illustrates that the keto-adapted state allows your body more flexibility in meeting its critical organ energy needs than a ‘balanced’ but energy-restricted diet. And in particular, this also means that your brain is a “carbohydrate dependent organ” (as claimed by the USDA Dietary Guidelines Advisory Committee as noted in Chapter 3) ONLY when you are eating a high carbohydrate diet. When carbohydrate is restricted as in the example above, your body’s appropriate production of ketones frees the brain from this supposed state of ‘carbohydrate dependency’. And because exercise stimulates ketone production, your brain’s fuel supply is better supported during and after intense exercise when on a low carbohydrate diet than when your carbohydrate intake is high (see below).
Jeff S. Volek (The Art and Science of Low Carbohydrate Living: An Expert Guide to Making the Life-Saving Benefits of Carbohydrate Restriction Sustainable and Enjoyable)
I look for my paints, and when I find them, they are mostly congealed. It has been two years since I painted anything, but I have optimistically kept a bag of art supplies on hand. There is a dead mouse in the bag, and I have no idea how long it’s been in there. Because for two years I have slowly moved all my art supplies out of view. I have woken up from dreams where my hands are slick with oil and turpentine and lost the inspiration by the time I brushed my teeth. The last time I painted, I was twenty-one. The president was Black. I had more serotonin and I was less afraid of men. Now the cyan and yellow come out hard. I need hot water to make them mix. I work with the paint, let the acrylic dry, and when it isn’t right I rework it again. I remain as faithful as I can to scale. I mix thirteen shades of green, five
Raven Leilani (Luster)
We discussed how wonderful it would be if a man could train himself to be both ethical and brave, and to earn all he needed for his household and himself. That kind of man, we agreed, would be appreciated by the whole world. But if a man went further still, if he had the wisdom and the skill to be the guide and governor of other men, supplying all their needs and making them all they ought to be, that would be the greatest thing of all.
Xenophon (Cyrus the Great: The Arts of Leadership and War)
The formidable combined forces of Judeo-Christianity and modern science have never succeeded in wiping out pagan astrology, nor will they ever. Astrology supplies what is missing in the west's official moral and intellectual codes. Astrology is the oldest organised art form of sexual personae. Waging war on astrology, the medieval and Renaissance Church promulgated the distortion that astrology is fatalism, a flouting of God's Providence and the necessity for moral struggle. But the predictive part of astrology is less important than its psychology, which three thousand years of continuous practise have given a phenomenal subtlety. Astrology does insist on self-discipline and self-transformation. Judging astrology by those vague sun-sign columns in the daily paper is like judging Christianity by a smudged shop window of black-velvet day-glo paintings of the Good Shepherd.
Camille Paglia (Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (Yale Nota Bene))
If you could give up the need for measurable progress, if you give up the pursuit of purpose and meaning,” I continued, adding, quietly to myself—“and the need to build an exhaustible supply of lemon drops’’—“and then focused on doing what is right and true each day, it feels to me that you’d live in congruency with your truest self, where the meaning of your life was a function of the meaning of each day. And each day, an expression of your life.
Jerry Colonna (Reboot: Leadership and the Art of Growing Up)
The “Muslim speech,” as we took to calling the second major address, was trickier. Beyond the negative portrayals of terrorists and oil sheikhs found on news broadcasts or in the movies, most Americans knew little about Islam. Meanwhile, surveys showed that Muslims around the world believed the United States was hostile toward their religion, and that our Middle East policy was based not on an interest in improving people’s lives but rather on maintaining oil supplies, killing terrorists, and protecting Israel. Given this divide, I told Ben that the focus of our speech had to be less about outlining new policies and more geared toward helping the two sides understand each other. That meant recognizing the extraordinary contributions of Islamic civilizations in the advancement of mathematics, science, and art and acknowledging the role colonialism had played in some of the Middle East’s ongoing struggles. It meant admitting past U.S. indifference toward corruption and repression in the region, and our complicity in the overthrow of Iran’s democratically elected government during the Cold War, as well as acknowledging the searing humiliations endured by Palestinians living in occupied territory. Hearing such basic history from the mouth of a U.S. president would catch many people off guard, I figured, and perhaps open their minds to other hard truths: that the Islamic fundamentalism that had come to dominate so much of the Muslim world was incompatible with the openness and tolerance that fueled modern progress; that too often Muslim leaders ginned up grievances against the West in order to distract from their own failures; that a Palestinian state would be delivered only through negotiation and compromise rather than incitements to violence and anti-Semitism; and that no society could truly succeed while systematically repressing its women. —
Barack Obama (A Promised Land)
Scene I. A little dark Parlour in Boston: Guards standing at the door. Hazlerod, Crusty Crowbar, Simple Sapling, Hateall, and Hector Mushroom. Simple. I know not what to think of these sad times, The people arm'd,—and all resolv'd to die Ere they'll submit.—— Crusty Crowbar. I too am almost sick of the parade Of honours purchas'd at the price of peace. Simple. Fond as I am of greatness and her charms, Elate with prospects of my rising name, Push'd into place,—a place I ne'er expected, My bounding heart leapt in my feeble breast. And ecstasies entranc'd my slender brain.— But yet, ere this I hop'd more solid gains, As my low purse demands a quick supply.— Poor Sylvia weeps,—and urges my return To rural peace and humble happiness, As my ambition beggars all her babes. Crusty. When first I listed in the desp'rate cause, And blindly swore obedience to his will, So wise, so just, so good I thought Rapatio, That if salvation rested on his word I'd pin my faith, and risk my hopes thereon. Hazlerod. Any why not now?—What staggers thy belief? Crusty. Himself—his perfidy appears— It is too plain he has betray'd his country; And we're the wretched tools by him mark'd out To seal its ruins—tear up the ancient forms, And every vestige treacherously destroy, Nor leave a trait of freedom in the land. Nor did I think hard fate wou'd call me up From drudging o'er my acres, Treading the glade, and sweating at the plough, To dangle at the tables of the great; At bowls and cards to spend my frozen years; To sell my friends, my country, and my conscience; Profane the sacred sabbaths of my God; Scorn'd by the very men who want my aid To spread distress o'er this devoted people. Hazlerod. Pho—what misgivings—why these idle qualms, This shrinking backwards at the bugbear conscience; In early life I heard the phantom nam'd, And the grave sages prate of moral sense Presiding in the bosom of the just; Or planting thongs about the guilty heart. Bound by these shackles, long my lab'ring mind, Obscurely trod the lower walks of life, In hopes by honesty my bread to gain; But neither commerce, or my conjuring rods, Nor yet mechanics, or new fangled drills, Or all the iron-monger's curious arts, Gave me a competence of shining ore, Or gratify'd my itching palm for more; Till I dismiss'd the bold intruding guest, And banish'd conscience from my wounded breast. Crusty. Happy expedient!—Could I gain the art, Then balmy sleep might sooth my waking lids, And rest once more refresh my weary soul.
Mercy Otis Warren (The Group A Farce)
If nature has been frugal in her gifts and endowments, there is the more need of art to supply her defects. If she has been generous and liberal, know that she still expects industry and application on our part, and revenges herself in proportion to our negligent ingratitude. The richest genius, like the most fertile soil, when uncultivated, shoots up into the rankest weeds; and instead of vines and olives for the pleasure and use of man, produces, to its slothful owner, the most abundant crop of poisons.
David Hume (Essays: Moral, Political and Literary)
Throughout the Middle Ages, Jews had no part in the culture of Christian countries, and were too severely persecuted to be able to make contributions to civilization, beyond supplying capital for the building of cathedrals and such enterprises. It was only among the Mohammedans, at that period, that Jews were treated humanely, and were able to pursue philosophy and enlightened speculation. Throughout the Middle Ages, the Mohammedans were more civilized and more humane than the Christians. Christians persecuted Jews, especially at times of religious excitement; the Crusades were associated with appalling pogroms. In Mohammedan countries, on the contrary, Jews at most times were not in any way ill treated. Especially in Moorish Spain, they contributed to learning; Maimonides (1135–1204), who was born at Cordova, is regarded by some as the source of much of Spinoza’s philosophy.Mohammedan civilization in its great days was admirable in the arts and in many technical ways, but it showed no capacity for independent speculation in theoretical matters. Its importance, which must not be under-rated, is as a transmitter. Between ancient and modern European civilization, the dark ages intervened. The Mohammedans and the Byzantines, while lacking the intellectual energy required for innovation, preserved the apparatus of civilization—education, books, and learned leisure. Both stimulated the West when it emerged from barbarism—the Mohammedans chiefly in the thirteenth century, the Byzantines chiefly in the fifteenth.
Bertrand Russell
Likewise, our housing should be functional: It should do little more than keep out extreme heat and cold, and shelter us from the sun and wind. A cave would be fine, if one were available. He reminds us that houses with courtyards, fancy color schemes, and gilded ceilings are hard to maintain. Furthermore, our simple house should be furnished simply. Its kitchen should be supplied with earthenware and iron vessels rather than those made of silver and gold; besides being cheaper, Musonius observes, such vessels are easier to cook with and less likely to be stolen.11
William B. Irvine (A Guide to the Good Life: The Ancient Art of Stoic Joy)
And then he's grabbing my hand, and pulling me into a storage room they use for art supplies. And he puts his finger to his lips, and the walls are filled with pads of paper and boxes of colored pencils and jars of paint, and I'm laughing and he shuts the door behind us and leans up against it to stop anyone coming in and like he's trying to get up his nerve now that he's started something, before we've ever gone to the dumplings and the movies— he leans in and kisses me. His lips are cold. The kiss is soft. He has gum in his mouth, and he stops, and giggles nervously, and takes it out and throws it in the trash can, and looks like he feels embarrassed to have kissed me with the gum, but I don't care, and so now I kiss him, and he's tall enough that he has to bend down to get to me, and I put my hand on his neck, which is smooth and warm, and we kiss for a minute in the storage room,and I want to run my hands up his shirt suddenly— but I don't. He pulls away for a second and touches my cheek. “I thought you'd never ask,” he whispers. “I thought I never would either,” I say, “but I did.” “Good job,” he says, and kisses me again.
E. Lockhart (Fly on the Wall: How One Girl Saw Everything)
An artful combination of propaganda flattered the mass, exploited its antipolitical sentiments, warned it of dangerous enemies foreign and domestic, and applied forms of intimidation to create a climate of fear and an insecure populace, one receptive to being led. The same citizenry, which democracy had created, proceeded to vote into power and then support movements openly pledged to destroy democracy and constitutionalism. Thus a democracy may fail and give way to antidemocracy that, in turn, supplies a populace—and a “democratic” postulate—congenial to a totalitarian regime.
Sheldon S. Wolin (Democracy Incorporated: Managed Democracy and the Specter of Inverted Totalitarianism - New Edition)
But the nature of the universe hath no such out-place; but herein doth consist the wonder of her art and skill, that she having once circumscribed herself within some certain bounds and limits, whatsoever is within her that seems either corrupted, or old, or unprofitable, she can change it into herself, and of these very things can make new things; so that she needeth not to seek elsewhere out of herself either for a new supply of matter and substance, or for a place where to throw out whatsoever is irrecoverably putrid and corrupt. Thus she, as for place, so for matter and art, is herself sufficient unto herself.
Marcus Aurelius (Meditations)
Whether this propensity be one of those original principles in human nature of which no further account can be given; or whether, as seems more probable, it be the necessary consequence of the faculties of reason and speech, it belongs not to our present subject to inquire. It is common to all men, and to be found in no other race of animals, which seem to know neither this nor any other species of contracts. Two greyhounds, in running down the same hare, have sometimes the appearance of acting in some sort of concert. Each turns her towards his companion, or endeavours to intercept her when his companion turns her towards himself. This, however, is not the effect of any contract, but of the accidental concurrence of their passions in the same object at that particular time. Nobody ever saw a dog make a fair and deliberate exchange of one bone for another with another dog. Nobody ever saw one animal by its gestures and natural cries signify to another, this is mine, that yours; I am willing to give this for that. When an animal wants to obtain something either of a man or of another animal, it has no other means of persuasion but to gain the favour of those whose service it requires. A puppy fawns upon its dam, and a spaniel endeavours by a thousand attractions to engage the attention of its master who is at dinner, when it wants to be fed by him. Man sometimes uses the same arts with his brethren, and when he has no other means of engaging them to act according to his inclinations, endeavours by every servile and fawning attention to obtain their good will. He has not time, however, to do this upon every occasion. In civilised society he stands at all times in need of the cooperation and assistance of great multitudes, while his whole life is scarce sufficient to gain the friendship of a few persons. In almost every other race of animals each individual, when it is grown up to maturity, is entirely independent, and in its natural state has occasion for the assistance of no other living creature. But man has almost constant occasion for the help of his brethren, and it is in vain for him to expect it from their benevolence only. He will be more likely to prevail if he can interest their self-love in his favour, and show them that it is for their own advantage to do for him what he requires of them. Whoever offers to another a bargain of any kind, proposes to do this. Give me that which I want, and you shall have this which you want, is the meaning of every such offer; and it is in this manner that we obtain from one another the far greater part of those good offices which we stand in need of. It is not from the benevolence of the butcher, the brewer, or the baker that we expect our dinner, but from their regard to their own interest. We address ourselves, not to their humanity but to their self-love, and never talk to them of our own necessities but of their advantages. Nobody but a beggar chooses to depend chiefly upon the benevolence of his fellow-citizens. Even a beggar does not depend upon it entirely. The charity of well-disposed people, indeed, supplies him with the whole fund of his subsistence. But though this principle ultimately provides him with all the necessaries of life which he has occasion for, it neither does nor can provide him with them as he has occasion for them. The greater part of his occasional wants are supplied in the same manner as those of other people, by treaty, by barter, and by purchase. With the money which one man gives him he purchases food. The old clothes which another bestows upon him he exchanges for other old clothes which suit him better, or for lodging, or for food, or for money, with which he can buy either food, clothes, or lodging, as he has occasion.
Adam Smith (The Wealth of Nations)
Our development team of 100 engineers drinks a lot of coffee… Equipping each floor with new coffee stations would cost $15,000, plus additional ongoing fees for supplies and maintenance. At 10 minutes a day per person traveling down to the break room for coffee and back, our engineering department spends 80 hours a week getting caffeine. New coffee makers would pay for themselves within weeks; afterward, they’d make money for the company. Our current system acts as if we’ve hired 2 full-time engineers just to walk back and forth from their offices to the break room, and their hall banter isn’t even close to West Wing quality.
Chip Heath (Making Numbers Count: The Art and Science of Communicating Numbers)
I placed the tubes of paint on the palette and selected a small canvas. I prepared the palette with an assortment of colors, then closed my eyes, remembering the way the moors had looked when I rode into town with Lord Livingston. He'd been so different on that drive into the village before he left for London. Had that been the side of him that Lady Anna had fallen in love with? I dipped my brush into the black paint and then mixed in some white until I'd created the right shade of gray, then touched the brush to the canvas. I loved the feeling of the paintbrush in my hand. He'd been kind to buy me the art supplies, but I remembered how he'd behaved in the dining room and at other times before that. 'How could he be so cruel, so unfeeling?' Once I'd painted the clouds, I moved on to the hills, mixing a sage green color for the grass and then dotting the foreground with a bit of lavender to simulate the heather. I stepped back from the canvas and frowned. It needed something else. But what? I looked out the window to the orchard. The Middlebury Pink. 'Who took the page from Lady Anna's book? Lord Livingston?' I dabbed my brush into the brown paint and created the structure of the tree. Next I dotted the branches with its heart-shaped leaves and large, white, saucer-size blossoms with pink tips.
Sarah Jio (The Last Camellia)
A diet rich in readily available nutrients allows the bones to mineralize properly, particularly during gestation and early development, and gives the teeth immunity to decay throughout the stresses of life. Not surprisingly, he found that the native diets that conferred such good health on healthy, so-called primitive groups were rich in minerals, particularly calcium and phosphorus, necessary for healthy bones and teeth. What is surprising about the work of Weston Price is his discovery that these healthy diets always contained a good source of what he called "fat-soluble activators," nutrients like vitamin A and vitamin D, and another vitamin he discovered called Activator X or the Price Factor. These nutrients are found only in certain animal fats. Foods that provided these nutrients were considered sacred by the healthy groups he studied. These foods included liver and other organ meats from grazing animals; fish eggs; fish liver oils; fish and shellfish; and butter from cows eating rapidly growing green grass from well-mineralized pastures. Price concluded that without a rich supply of these fat-soluble nutrients, the body cannot properly use the minerals in food. These fat-soluble nutrients also nourish the glands and organs to give healthy indigenous peoples plenty of immunity during times of stress.
Thomas S. Cowan (Fourfold Path To Healing: Working with the Laws of Nutrition, Therapeutics, Movement and Meditation in the Art of Medicine)
I do not fear that "future generations will not read novels," etc. It is probably a complete misunderstanding to conceive of serious art in categories of production, market, readers, supply and demand(...)art is not the fabrication of stories for readers but a spiritual cohabitation, something so tense and so separate from science, even contradictory to it, that there can be no competition between them. If someone fine, dignified, prolific, brilliant (this is how one ought to speak of artists this is the language art demands) is born in the future, if someone unique and unrepeatable is born, a Bach, a Rembrandt, then he will win people over, charm and seduce them...
Witold Gombrowicz (Diary)
I had no power of withdrawing my person from a disgustful society, in the most cheerful and valuable part of the day; but I soon brought to perfection the art of withdrawing my thoughts, and saw and heard the people about me, for just as short a time, and as seldom, as I pleased. Such is man in himself considered; so simple his nature; so few his wants. How different from the man of artificial society! Palaces are built for his reception, a thousand vehicles provided for his exercise, provinces are ransacked for the gratification of his appetite, and the whole world traversed to supply him with apparel and furniture. Thus vast is his expenditure, and the purchase slavery.
William Godwin (Caleb Williams)
1.    Sun Tzu said: Whoever is first in the field and awaits the coming of the enemy, will be fresh for the fight; whoever is second in the field and has to hasten to battle will arrive exhausted. 2.    Therefore the clever combatant imposes his will on the enemy, but does not allow the enemy’s will to be imposed on him. [One mark of a great soldier is that he fight on his own terms or fights not at all.77 ] 3.    By holding out advantages to him, he can cause the enemy to approach of his own accord; or, by inflicting damage, he can make it impossible for the enemy to draw near. [In the first case, he will entice him with a bait; in the second, he will strike at some important point which the enemy will have to defend.] 4.    If the enemy is taking his ease, he can harass him; [This passage may be cited as evidence against Mei Yao-Ch’en’s interpretation of I. ss. 23.] if well supplied with food, he can starve him out; if quietly encamped, he can force him to move. 5.    Appear at points which the enemy must hasten to defend; march swiftly to places where you are not expected. 6.    An army may march great distances without distress, if it marches through country where the enemy is not. [Ts’ao Kung sums up very well: “Emerge from the void [q.d. like “a bolt from the blue”], strike at vulnerable points, shun places that are defended, attack in unexpected quarters.”] 7.    You can be sure of succeeding in your attacks if you only attack places which are undefended. [Wang Hsi explains “undefended places” as “weak points; that is to say, where the general is lacking in capacity, or the soldiers in spirit; where the walls are not strong enough, or the precautions not strict enough; where relief comes too late, or provisions are too scanty, or the defenders are variance amongst themselves.”] You can ensure the safety of your defense if you only hold positions that cannot be attacked. [I.e., where there are none of the weak points mentioned above. There is rather a nice point involved in the interpretation of this later clause. Tu
Sun Tzu (The Art of War)
The trend toward the ownership of land by fewer and fewer individuals is, it seems to me, a disastrous thing. For when too large a proportion of the populace is supporting itself by the indirections of trade and business and commerce and art and the million schemes of men in cities, then the complexity of society is likely to become so great as to destroy its equilibrium, and it will always be out of balance in some way. But if a considerable portion of the people are occupied wholly or partially in labors that directly supply them with many things that they want, or think they want, whether it be a sweet pea or a sour pickle, then the public poise will be a good deal harder to upset.
E.B. White (E.B. White on Dogs)
To eat responsibly is to understand and enact, so far as one can, this complex relationship. What can one do? Here is a list, probably not definitive: 1. Participate in food production to the extent that you can. If you have a yard or even just a porch box or a pot in a sunny window, grow something to eat in it. Make a little compost of your kitchen scraps and use it for fertilizer. Only by growing some food for yourself can you become acquainted with the beautiful energy cycle that revolves from soil to seed to flower to fruit to food to offal to decay, and around again. You will be fully responsible for any food that you grow for yourself, and you will know all about it. You will appreciate it fully, having known it all its life. 2. Prepare your own food. This means reviving in your own mind and life the arts of kitchen and household. This should enable you to eat more cheaply, and it will give you a measure of “quality control”: You will have some reliable knowledge of what has been added to the food you eat. 3. Learn the origins of the food you buy, and buy the food that is produced closest to your home. The idea that every locality should be, as much as possible, the source of its own food makes several kinds of sense. The locally produced food supply is the most secure, the freshest, and the easiest for local consumers to know about and to influence. 4. Whenever possible, deal directly with a local farmer, gardener, or orchardist. All the reasons listed for the previous suggestion apply here. In addition, by such dealing you eliminate the whole pack of merchants, transporters, processors, packagers, and advertisers who thrive at the expense of both producers and consumers. 5. Learn, in self-defense, as much as you can of the economy and technology of industrial food production. What is added to food that is not food, and what do you pay for these additions? 6. Learn what is involved in the best farming and gardening. 7. Learn as much as you can, by direct observation and experience if possible, of the life histories of the food species. The
Wendell Berry (Bringing it to the Table: Writings on Farming and Food)
Mr. Freeman: "Time's up, Melinda. Are you ready?" I hand over the picture. He takes it in his hands and studies it. I sniff again and wipe my eyes on my arm. The bruises are vivid, but they will fade. Mr. Freeman: "No crying in my studio. It ruins the supplies. Salt, you know, saline. Etches like acid." he sits on the stool next to me and hands back my tree. "You get an A+. You worked hard at this." He hands me the box of tissues. "You've been through a lot, haven't you?" The tears dissolve the last block of ice in my throat. I feel the frozen stillness melt down through the inside of me, dripping shards of ice that vanish in a puddle of sunlight on the stained floor. Words float up. Me: "Let me tell you about it.
Laurie Halse Anderson (Speak)
Throughout the Middle Ages, Jews had no part in the culture of Christian countries, and were too severely persecuted to be able to make contributions to civilization, beyond supplying capital for the building of cathedrals and such enterprises. It was only among the Mohammedans, at that period, that Jews were treated humanely, and were able to pursue philosophy and enlightened speculation. Throughout the Middle Ages, the Mohammedans were more civilized and more humane than the Christians. Christians persecuted Jews, especially at times of religious excitement; the Crusades were associated with appalling pogroms. In Mohammedan countries, on the contrary, Jews at most times were not in any way ill treated. Especially in Moorish Spain, they contributed to learning; Maimonides (1135–1204), who was born at Cordova, is regarded by some as the source of much of Spinoza’s philosophy. (..) Mohammedan civilization in its great days was admirable in the arts and in many technical ways, but it showed no capacity for independent speculation in theoretical matters. Its importance, which must not be under-rated, is as a transmitter. Between ancient and modern European civilization, the dark ages intervened. The Mohammedans and the Byzantines, while lacking the intellectual energy required for innovation, preserved the apparatus of civilization—education, books, and learned leisure. Both stimulated the West when it emerged from barbarism—the Mohammedans chiefly in the thirteenth century, the Byzantines chiefly in the fifteenth.
Bertrand Russell (A History of Western Philosophy)
The case for bitcoin as a cash item on a balance sheet is very compelling for anyone with a time horizon extending beyond four years. Whether or not fiat authorities like it, bitcoin is now in free-market competition with many other assets for the world’s cash balances. It is a competition bitcoin will win or lose in the market, not by the edicts of economists, politicians, or bureaucrats. If it continues to capture a growing share of the world’s cash balances, it continues to succeed. As it stands, bitcoin’s role as cash has a very large total addressable market. The world has around $90 trillion of broad fiat money supply, $90 trillion of sovereign bonds, $40 trillion of corporate bonds, and $10 trillion of gold. Bitcoin could replace all of these assets on balance sheets, which would be a total addressable market cap of $230 trillion. At the time of writing, bitcoin’s market capitalization is around $700 billion, or around 0.3% of its total addressable market. Bitcoin could also take a share of the market capitalization of other semihard assets which people have resorted to using as a form of saving for the future. These include stocks, which are valued at around $90 trillion; global real estate, valued at $280 trillion; and the art market, valued at several trillion dollars. Investors will continue to demand stocks, houses, and works of art, but the current valuations of these assets are likely highly inflated by the need of their holders to use them as stores of value on top of their value as capital or consumer goods. In other words, the flight from inflationary fiat has distorted the U.S. dollar valuations of these assets beyond any sane level. As more and more investors in search of a store of value discover bitcoin’s superior intertemporal salability, it will continue to acquire an increasing share of global cash balances.
Saifedean Ammous (The Fiat Standard: The Debt Slavery Alternative to Human Civilization)
I have both some good news and some bad news for you: there is little that is unique or special about your problems. That’s why letting go is so liberating. There’s a kind of self-absorption that comes with fear based on an irrational certainty. When you assume that your plane is the one that’s going to crash, or that your project idea is the stupid one everyone is going to laugh at, or that you’re the one everyone is going to choose to mock or ignore, you’re implicitly telling yourself, “I’m the exception; I’m unlike everybody else; I’m different and special.” This is narcissism, pure and simple. You feel as though your problems deserve to be treated differently, that your problems have some unique math to them that doesn’t obey the laws of the physical universe. My recommendation: don’t be special; don’t be unique. Redefine your metrics in mundane and broad ways. Choose to measure yourself not as a rising star or an undiscovered genius. Choose to measure yourself not as some horrible victim or dismal failure. Instead, measure yourself by more mundane identities: a student, a partner, a friend, a creator. The narrower and rarer the identity you choose for yourself, the more everything will seem to threaten you. For that reason, define yourself in the simplest and most ordinary ways possible. This often means giving up some grandiose ideas about yourself: that you’re uniquely intelligent, or spectacularly talented, or intimidatingly attractive, or especially victimized in ways other people could never imagine. This means giving up your sense of entitlement and your belief that you’re somehow owed something by this world. This means giving up the supply of emotional highs that you’ve been sustaining yourself on for years. Like a junkie giving up the needle, you’re going to go through withdrawal when you start giving these things up. But you’ll come out the other side so much better.
Mark Manson (The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life)
Doggerel by a Senior Citizen (for Robert Lederer) Our earth in 1969 Is not the planet I call mine, The world, I mean, that gives me strength To hold off chaos at arm’s length. My Eden landscapes and their climes Are constructs from Edwardian times, When bath-rooms took up lots of space, And, before eating, one said Grace. The automobile, the aeroplane, Are useful gadgets, but profane: The enginry of which I dream Is moved by water or by steam. Reason requires that I approve The light-bulb which I cannot love: To me more reverence-commanding A fish-tail burner on the landing. My family ghosts I fought and routed, Their values, though, I never doubted: I thought the Protestant Work-Ethic Both practical and sympathetic. When couples played or sang duets, It was immoral to have debts: I shall continue till I die To pay in cash for what I buy. The Book of Common Prayer we knew Was that of 1662: Though with-it sermons may be well, Liturgical reforms are hell. Sex was of course —it always is— The most enticing of mysteries, But news-stands did not then supply Manichean pornography. Then Speech was mannerly, an Art, Like learning not to belch or fart: I cannot settle which is worse, The Anti-Novel or Free Verse. Nor are those Ph.D’s my kith, Who dig the symbol and the myth: I count myself a man of letters Who writes, or hopes to, for his betters. Dare any call Permissiveness An educational success? Saner those class-rooms which I sat in, Compelled to study Greek and Latin. Though I suspect the term is crap, There is a Generation Gap, Who is to blame? Those, old or young, Who will not learn their Mother-Tongue. But Love, at least, is not a state Either en vogue or out-of-date, And I’ve true friends, I will allow, To talk and eat with here and now. Me alienated? Bosh! It’s just As a sworn citizen who must Skirmish with it that I feel Most at home with what is Real.
W.H. Auden
I have these worksheets. They're great for the irregular verbs..." "Not today." He shot me a look and kept shuffling papers. "Okay," I said. "D'accord.Pas de papiers aujourd'hui. S'il vous plait,Alex. Je...je fais les choses la derniere fois." "Prochaine." "What?" "La prochaine fois," he correct. "Next time. Derniere fois is 'last time.' I'm not even going to start on your verb usage." "Right.La derniere...sorry...prochaine fois. How do you say 'I'm begging you'?" "Jes t'en supplie," he answered. Then, "You are aware that in order to speak better french, you actually have to speak French." "Oui,monsieur. But the Eiffel Tower will still be standing next week, and french fries will still be American." "Belgian," Alex sighed. "French fries started in Belgium. Look,I'm not going to force you to work. It's your choice and not my job." "Next week," I promised. "I promise." "Right." He rubbed the back of his head, pushing his hair into a funny little ducktail. "Okay,fine. How 'bout a movie?" Worked for me. "Sure.
Melissa Jensen (The Fine Art of Truth or Dare)
Medicine once consisted of the knowledge of a few simples, to stop the flow of blood, or to heal wounds; then by degrees it reached its present stage of complicated variety. No wonder that in early days medicine had less to do! Men's bodies were still sound and strong; their food was light and not spoiled by art and luxury, whereas when they began to seek dishes not for the sake of removing, but of rousing, the appetite, and devised countless sauces to whet their gluttony, – then what before was nourishment to a hungry man became a burden to the full stomach. 16. Thence come paleness, and a trembling of wine-sodden muscles, and a repulsive thinness, due rather to indigestion than to hunger. Thence weak tottering steps, and a reeling gait just like that of drunkenness. Thence dropsy, spreading under the entire skin, and the belly growing to a paunch through an ill habit of taking more than it can hold. Thence yellow jaundice, discoloured countenances, and bodies that rot inwardly, and fingers that grow knotty when the joints stiffen, and muscles that are numbed and without power of feeling, and palpitation of the heart with its ceaseless pounding. 17. Why need I mention dizziness? Or speak of pain in the eye and in the ear, itching and aching[11] in the fevered brain, and internal ulcers throughout the digestive system? Besides these, there are countless kinds of fever, some acute in their malignity, others creeping upon us with subtle damage, and still others which approach us with chills and severe ague. 18. Why should I mention the other innumerable diseases, the tortures that result from high living?   Men used to be free from such ills, because they had not yet slackened their strength by indulgence, because they had control over themselves, and supplied their own needs.[12] They toughened their bodies by work and real toil, tiring themselves out by running or hunting or tilling the earth. They were refreshed by food in which only a hungry man could take pleasure. Hence, there was no need for all our mighty medical paraphernalia, for so many instruments and pill-boxes. For plain reasons they enjoyed plain health;
Seneca (Letters from a Stoic)
Bohr is really doing what the Stoic allegorists did to close the gap between their world and Homer's, or what St. Augustine did when he explained, against the evidence, the concord of the canonical scriptures. The dissonances as well as the harmonies have to be made concordant by means of some ultimate complementarity. Later biblical scholarship has sought different explanations, and more sophisticated concords; but the motive is the same, however the methods may differ. An epoch, as Einstein remarked, is the instruments of its research. Stoic physics, biblical typology, Copenhagen quantum theory, are all different, but all use concord-fictions and assert complementarities. Such fictions meet a need. They seem to do what Bacon said poetry could: 'give some show of satisfaction to the mind, wherein the nature of things doth seem to deny it.' Literary fictions ( Bacon's 'poetry') do likewise. One consequence is that they change, for the same reason that patristic allegory is not the same thing, though it may be essentially the same kind of thing, as the physicists' Principle of Complementarity. The show of satisfaction will only serve when there seems to be a degree of real compliance with reality as we, from time to time, imagine it. Thus we might imagine a constant value for the irreconcileable observations of the reason and the imagination, the one immersed in chronos, the other in kairos; but the proportions vary indeterminably. Or, when we find 'what will suffice,' the element of what I have called the paradigmatic will vary. We measure and order time with our fictions; but time seems, in reality, to be ever more diverse and less and less subject to any uniform system of measurement. Thus we think of the past in very different timescales, according to what we are doing; the time of the art-historian is different from that of the geologist, that of the football coach from the anthropologist's. There is a time of clocks, a time of radioactive carbon, a time even of linguistic change, as in lexicostatics. None of these is the same as the 'structural' or 'family' time of sociology. George Kubler in his book The Shape of Time distinguished between 'absolute' and 'systematic' age, a hierarchy of durations from that of the coral reef to that of the solar year. Our ways of filling the interval between the tick and tock must grow more difficult and more selfcritical, as well as more various; the need we continue to feel is a need of concord, and we supply it by increasingly varied concord-fictions. They change as the reality from which we, in the middest, seek a show of satisfaction, changes; because 'times change.' The fictions by which we seek to find 'what will suffice' change also. They change because we no longer live in a world with an historical tick which will certainly be consummated by a definitive tock. And among all the other changing fictions, literary fictions take their place. They find out about the changing world on our behalf; they arrange our complementarities. They do this, for some of us, perhaps better than history, perhaps better than theology, largely because they are consciously false; but the way to understand their development is to see how they are related to those other fictional systems. It is not that we are connoisseurs of chaos, but that we are surrounded by it, and equipped for coexistence with it only by our fictive powers. This may, in the absence of a supreme fiction-or the possibility of it, be a hard fate; which is why the poet of that fiction is compelled to say From this the poem springs: that we live in a place That is not our own, and much more, nor ourselves And hard it is, in spite of blazoned days.
Frank Kermode (The Sense of an Ending: Studies in the Theory of Fiction)
For years the financial services have been making stock-market forecasts without anyone taking this activity very seriously. Like everyone else in the field they are sometimes right and sometimes wrong. Wherever possible they hedge their opinions so as to avoid the risk of being proved completely wrong. (There is a well-developed art of Delphic phrasing that adjusts itself successfully to whatever the future brings.) In our view—perhaps a prejudiced one—this segment of their work has no real significance except for the light it throws on human nature in the securities markets. Nearly everyone interested in common stocks wants to be told by someone else what he thinks the market is going to do. The demand being there, it must be supplied. Their interpretations and forecasts of business conditions, of course, are much more authoritative and informing. These are an important part of the great body of economic intelligence which is spread continuously among buyers and sellers of securities and tends to create fairly rational prices for stocks and bonds under most circumstances. Undoubtedly the material published by the financial services adds to the store of information available and fortifies the investment judgment of their clients.
Benjamin Graham (The Intelligent Investor)
All the world is run politically mad. Men, women, children talk nothing else; and you know that naturally they talk much, loud and warm. Society is spoilt by it, at least for those who, like myself, are but lookers on.—You too have had your political fever. But our good ladies, I trust, have been too wise to wrinkle their foreheads with politics. They are contented to soothe and calm the minds of their husbands returning ruffled from political debate. They have the good sense to value domestic happiness above all other, and the art to cultivate it beyond all others. There is no part of the earth where so much of this is enjoyed as in America. You agree with me in this: but you think that the pleasures of Paris more than supply it’s want: in other words that a Parisian is happier than an American. You will change your opinion, my dear Madam, and come over to mine in the end. Recollect the women of this capital, some on foot, some on horses, and some in carriages hunting pleasure in the streets, in routs and assemblies, and forgetting that they have left it behind them in their nurseries; compare them with our own countrywomen occupied in the tender and tranquil amusements of domestic life, and confess that it is a comparison of Amazons and Angels.
Thomas Jefferson
The Indian conception teaches liberation from the opposites, by which are to be understood every sort of affective state and emotional tie to the object. Liberation follows the withdrawal of libido from all contents, resulting in a state of complete introversion. This psychological process is, very characteristically, known as tapas, a term which can best be rendered as “self-brooding.” This expression clearly pictures the state of meditation without content, in which the libido is supplied to one’s own self somewhat in the manner of incubating heat. As a result of the complete detachment of all affective ties to the object, there is necessarily formed in the inner self an equivalent of objective reality, or a complete identity of inside and outside, which is technically described as tat tvam asi (that art thou). The fusion of the self with its relations to the object produces the identity of the self (atman) with the essence of the world (i.e., with the relations of subject to object), so that the identity of the inner with the outer atman is cognized. The concept of brahman differs only slightly from that of atman, for in brahman the idea of the self is not explicitly given; it is, as it were, a general indefinable state of identity between inside and outside.
C.G. Jung (Collected Works of C. G. Jung, Volume 6: Psychological Types (The Collected Works of C. G. Jung Book 16))
From the fourteenth to the nineteenth century we have merely been expending the incalculable treasures discovered then and using up the great supply of energies gathered up to that time. Hence, modern history is the antithesis of the Middle Ages; man no longer wants to keep silent about himself: he hastens to express to others every slightest feeling and every new thought he may have through the medium of colors or sounds and, without fail, by means of the printing press. One might say that just as man studiously effaced himself up to the fourteenth century, so he becomes garrulous once he crosses into that century and all the succeeding ones. Not only what is wise, not only what is noble, but also what is ridiculous, stupid, and hideous in himself he couches in poetry and prose, sets to music, and would very much like, but he is unable, to express in marble and to fix within architectural lines. It is remarkable that architecture - that kind of impersonal art, that form of creation in which the creator is merged with his epoch and people, in which he does not rise above them, nor set apart his own I on their background - declines, as soon as we enter modern history, and not once during this period does it rise to the sublime or the beautiful. ("On Symbolists And Decadents")
Vasily Rozanov
Nothing in the period that followed was too good for the Rouge; it had the best blast furnaces, the best machine tools, the best metal labs, the best electrical systems, the most efficient efficiency experts. At its maturity in the mid-twenties, the Rouge dwarfed all other industrial complexes. It was a mile and a half long and three quarters of a mile wide. Its eleven hundred acres contained ninety-three buildings, twenty-three of them major. There were ninety-three miles of railroad track on it and twenty-seven miles of conveyor belts. Some seventy-five thousand men worked there, five thousand of them doing nothing but keeping it clean, using eighty-six tons of soap and wearing out five thousand mops each month. By the standards of the day the Rouge was, in fact, clean and quiet. Little was wasted. A British historian of the time, J. A. Spender, wrote of its systems: “If absolute completeness and perfect adaptation of means to end justify the word, they are in their own way works of art.” Dissatisfied with the supply and quality of the steel he was getting from the steel companies, Ford asked how much it would cost to build a steel plant within the Rouge. About $35 million, Sorensen told him. “What are you waiting for?” said Ford. Equally dissatisfied with both the availability and the quality of glass, he built a glass factory at the Rouge as well. The
David Halberstam (The Reckoning)
maternal love, the most successful object of the religious imagination of romantic art. For the most part real and human, it is yet entirely spiritual, without the interest and exigency of desire, not sensuous and yet present: absolutely satisfied and blissful spiritual depth. It is a love without craving, but it is not friendship; for be friendship never so rich in emotion, it yet demands a content, something essential, as a mutual end and aim. Whereas, without any reciprocity of aim and interests, maternal love has an immediate support in the natural bond of connection. But in this instance the mother’s love is not at all restricted to the natural side. In the child which she conceived and then bore in travail, Mary has the complete knowledge and feeling of herself; and the same child, blood of her blood, stands all the same high above her, and nevertheless this higher being belongs to her and is the object in which she forgets and maintains herself. The natural depth of feeling in the mother’s love is altogether spiritualized; it has the Divine as its proper content, but this spirituality remains lowly and unaware, marvellously penetrated by natural oneness and human feeling. It is the blissful maternal love, the love of the one mother alone who was the first recipient of this joy. Of course this love too is not without grief, but the grief is only the sorrow of loss, lamentation for her suffering, dying, and dead son, and does not, as we shall see at a later stage,[9] result from injustice and torment from without, or from the infinite battle against sins, or from the agony and pain brought about by the self. Such deep feeling is here spiritual beauty, the Ideal, human identification of man with God, with the spirit and with truth: a pure forgetfulness and complete self-surrender which still in this forgetfulness is from the beginning one with that into which it is merged and now with blissful satisfaction has a sense of this oneness. In such a beautiful way maternal love, the picture as it were of the Spirit, enters romantic art in place of the Spirit itself because only in the form of feeling is the Spirit made prehensible by art, and the feeling of the unity between the individual and God is present in the most original, real, and living way only in the Madonna’s maternal love. This love must enter art necessarily if, in the portrayal of this sphere, the Ideal, the affirmative satisfied reconciliation is not to be lacking. There was therefore a time when the maternal love of the blessed Virgin belonged in general to the highest and holiest [part of religion] and was worshipped and represented as this supreme fact. But when the Spirit brings itself into consciousness of itself in its own element, separated from the whole natural grounding which feeling supplies, then too it is only the spiritual mediation, free from such a grounding, that can be regarded as the free route to the truth; and so, after all, in Protestantism, in contrast to mariolatry in art and in faith, the Holy Spirit and the inner mediation of the Spirit has become the higher truth.
Georg Wilhelm Friedrich Hegel
April 27 MORNING “God, even our own God.” — Psalm 67:6 IT is strange how little use we make of the spiritual blessings which God gives us, but it is stranger still how little use we make of God Himself. Though He is “our own God,” we apply ourselves but little to Him, and ask but little of Him. How seldom do we ask counsel at the hands of the Lord! How often do we go about our business, without seeking His guidance! In our troubles how constantly do we strive to bear our burdens ourselves, instead of casting them upon the Lord, that He may sustain us! This is not because we may not, for the Lord seems to say, “I am thine, soul, come and make use of me as thou wilt; thou mayst freely come to my store, and the oftener the more welcome.” It is our own fault if we make not free with the riches of our God. Then, since thou hast such a friend, and He invites thee, draw from Him daily. Never want whilst thou hast a God to go to; never fear or faint whilst thou hast God to help thee; go to thy treasure and take whatever thou needest — there is all that thou canst want. Learn the divine skill of making God all things to thee. He can supply thee with all, or, better still, He can be to thee instead of all. Let me urge thee, then, to make use of thy God. Make use of Him in prayer. Go to Him often, because He is thy God. O, wilt thou fail to use so great a privilege? Fly to Him, tell Him all thy wants. Use Him constantly by faith at all times. If some dark providence has beclouded thee, use thy God as a “sun;” if some strong enemy has beset thee, find in Jehovah a “shield,” for He is a sun and shield to His people. If thou hast lost thy way in the mazes of life, use Him as a “guide,” for He will direct thee. Whatever thou art, and wherever thou art, remember God is just what thou wantest, and just where thou wantest, and that He can do all thou wantest.
Charles Haddon Spurgeon (Morning and Evening—Classic KJV Edition: A Devotional Classic for Daily Encouragement)
How can I tell of the rest of creation, with all its beauty and utility, which the divine goodness has given to man to please his eye and serve his purposes, condemned though he is, and hurled into these labors and miseries?  Shall I speak of the manifold and various loveliness of sky, and earth, and sea; of the plentiful supply and wonderful qualities of the light; of sun, moon, and stars; of the shade of trees; of the colors and perfume of flowers; of the multitude of birds, all differing in plumage and in song; of the variety of animals, of which the smallest in size are often the most wonderful,--the works of ants and bees astonishing us more than the huge bodies of whales?  Shall I speak of the sea, which itself is so grand a spectacle, when it arrays itself as it were in vestures of various colors, now running through every shade of green, and again becoming purple or blue?  Is it not delightful to look at it in storm, and experience the soothing complacency which it inspires, by suggesting that we ourselves are not tossed and shipwrecked?  [1664]What shall I say of the numberless kinds of food to alleviate hunger, and the variety of seasonings to stimulate appetite which are scattered everywhere by nature, and for which we are not indebted to the art of cookery?  How many natural appliances are there for preserving and restoring health!  How grateful is the alternation of day and night!  how pleasant the breezes that cool the air!  how abundant the supply of clothing furnished us by trees and animals!  Who can enumerate all the blessings we enjoy?  If I were to attempt to detail and unfold only these few which I have indicated in the mass, such an enumeration would fill a volume.  And all these are but the solace of the wretched and condemned, not the rewards of the blessed.  What then shall these rewards be, if such be the blessings of a condemned state?
Augustine of Hippo (St. Augustine of Hippo: The City of God)